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Jazz dance: the story on HearLore | HearLore
Jazz dance
In 1923, James P. Johnson composed a song that would change the trajectory of American movement forever, and the dance that accompanied it was not merely entertainment but a declaration of independence. The Charleston emerged from the harbor city of Charleston, South Carolina, yet its explosive popularity surged through the 1920s with a force that defied the rigid social norms of the era. This dance incorporated hand clapping, broad movements, and foot stamping, all of which were directly linked to the African origins of The Juba, a dance that originated from the Kongo. Unlike the ballroom dances of the time that required a partner and strict adherence to form, the Charleston could be performed alone, allowing individuals to assert their presence in a society that often sought to silence them. The toes-in, heels-out twisting steps became a symbol of the Harlem Renaissance, a period that celebrated black art, literature, and music while challenging the status quo of racial segregation. Dancers like Josephine Baker took this energy to the Folies Bergère in Paris, where her iconic banana skirt and unique style captivated audiences, eventually earning her recognition as the NAACP's Woman of the Year. Her success was not just a personal triumph but a bridge that connected African American vernacular traditions to the global stage, proving that the black body could be a vessel for both joy and political resistance.
The Architecture Of Swing
When the Great Depression began in October 1929, the economic collapse drove many people to seek solace and community in the dance halls, giving rise to a new era of movement known as swing. The Lindy hop emerged as a wild and spontaneous partner dance that was extremely rhythmically conscious, evolving from the earlier Charleston and the shimmy. The shimmy, inspired by a 1917 song called Shim-Me-Sha-Wabble by jazz pianist Spencer Williams, involved holding the body still except for the shoulders, which were quickly alternated back and forth. This period saw the rise of iconic figures such as the Nicholas Brothers, who brought Jazz Dance to mainstream audiences with their acrobatic flair and precision. The Aubrielle and the Lindy hop are now considered to be under the umbrella term swing dance, characterized by stylized, continuously flowing movements that developed the technique and style for the combinations that followed. Dancers like Frankie Manning and Norma Miller became legends of this era, performing in venues that were often segregated yet became spaces of liberation. The dance was not just a pastime but a survival mechanism, a way to express the resilience and adaptability of African American culture during a time of profound hardship. The improvisational aesthetic of swing dancing reflected values of oral communication and sensory experience, intertwining personal creativity with communal traditions to create a dynamic form of expression that remains influential today.
When did James P. Johnson compose the song that launched the Charleston dance?
James P. Johnson composed the song in 1923. The Charleston emerged from Charleston, South Carolina, and gained explosive popularity throughout the 1920s.
Who created the first codified jazz technique known as the Luigi Technique?
Eugene Louis Faccuito, also known as Luigi, created the first codified jazz technique called the Luigi Technique. This systematized approach provided a foundation for future generations of performers and ensured the art form could be taught with precision.
When did the Great Depression begin and how did it affect swing dance?
The Great Depression began in October 1929. The economic collapse drove people to dance halls, giving rise to swing dance and the Lindy hop as a survival mechanism for African American culture.
What year did Katherine Dunham open the K.D. School of Arts and Research?
Katherine Dunham opened the K.D. School of Arts and Research in 1944. She established the school in Isadora Duncan's former studio in New York before founding the Dunham School in 1945.
Which choreographer revolutionized jazz dance with sexually suggestive movements in the 1940s?
Bob Fosse revolutionized jazz dance with his sexually suggestive movements starting in the 1940s. His style is found in musicals and films such as Cabaret and Chicago and has influenced countless choreographers.
Jack Cole, a dancer who would later influence Matt Mattox, Bob Fosse, Jerome Robbins, and Gwen Verdon, is credited with popularizing the theatrical form of jazz dance with his great number of choreographic works on television and Broadway. His style has been called hip, hard, and cool, and he combined elements from vaudeville, striptease, magic shows, nightclubs, film, and Broadway musicals to create a new language of movement. This theatrical revolution was further advanced by Katherine Dunham, an anthropologist, choreographer, and pioneer in black theatrical dance who introduced isolations to Jazz Dance. She created the Dunham technique, characterized by simple lines, torsos that move in different ways, and a greater variety of tempos and rhythms than most other Western dance styles of that time. In 1944, she opened the K.D. School of Arts and Research in Isadora Duncan's former studio in New York, followed by the Dunham School in 1945, where notable artists like Marlon Brando and James Dean studied. The influence of these pioneers extended beyond the stage, as they used dance to discuss racial identity and expression, emphasizing the unique cultural heritage of African Americans. Hemsley Winfield, a dancer during the Harlem Renaissance, utilized the black body to discuss racial identity and expression, emphasizing the unique cultural heritage of African Americans. In his 1933 Forum Recital titled What shall the Negro dance about?, Winfield highlighted the universal human emotions expressed through movement, while asserting the importance of African cultural roots and Southern work songs.
The Codified Technique
Eugene Louis Faccuito, also known as Luigi, was an American jazz dancer, teacher, choreographer, and creator of the first codified jazz technique, the Luigi Technique. This systematized approach to dance provided a foundation for future generations of performers, ensuring that the art form could be taught and preserved with precision. Alongside Luigi, Gus Giordano emerged as a jazz dancer and choreographer in Chicago known for his clean, precise movement, further refining the technical aspects of the style. The evolution of jazz dance into a codified discipline allowed it to enter the academic sphere, where colleges and universities began to apply the term to classes offered by physical education departments in which students dance to various forms of pop music. This shift marked a transition from the vernacular streets and clubs to the structured environment of the classroom, where the history and technique of the dance were studied with academic rigor. The work of these teachers ensured that the improvisational spirit of the dance was not lost but rather integrated into a framework that could be passed down through generations. The influence of these figures extended to the creation of commercial jazz, which has been popular since the 1980s and combines aspects of hip hop and jazz, often done to pop music. This style can be seen in the music videos of Janet Jackson and Paula Abdul, where commercial jazz often includes more tricks and high-energy movements that appeal to a global audience.
The Screen And The Stage
Bob Fosse, choreographer and film director, revolutionized jazz dance with his sexually suggestive movements, creating a style that is very recognizable and can be found in the musicals and films that he has choreographed, such as Cabaret and Chicago. His work combined vaudeville, striptease, magic shows, nightclubs, film, and Broadway musicals to create a unique aesthetic that has influenced countless choreographers. The term Jazz Dance has been used in ways that have little or nothing to do with jazz music, and since the 1940s, Hollywood movies and Broadway shows have used the term to describe the choreographies of Bob Fosse and Jerome Robbins. In the 1990s, colleges and universities applied the term to classes offered by physical education departments in which students dance to various forms of pop music, in addition to jazz. Some jazz dance classes may use electroswing music, which is a style combining jazz with electronic dance music. The impact of these choreographers extended to the silver screen, where movies like A Chorus Line and Saturday Night Fever helped re-popularize Jazz Dance and added new styles and combinations. In the 1980s, MTV revolutionized dance by showcasing high-energy music videos that combined various styles, including Jazz, Ballet, and street dance, bringing the art form to a new generation of viewers. The commercialization of jazz dance through television and film ensured its survival and evolution, even as the original vernacular roots began to fade from the public eye.
The Modern Fusion
Contemporary jazz became well known because of its television shows unlike So You Think You Can Dance, with Mia Michaels's earlier work exemplifying this style. Some other companies and choreographers that create contemporary Jazz Dance are Sonya Tayeh, Mandy Moore, and Hubbard Street Dance Chicago. Commercial Jazz, which has been popular since the 1980s, combines aspects of hip hop and jazz and is often done to pop music. This style can be seen in the music videos of Janet Jackson and Paula Abdul, where commercial jazz often includes more tricks. Another variety of jazz is Latin Jazz, which Maria Torres developed and popularized at Broadway Dance Center. Latin jazz has an emphasis on the movement of hips and isolations, and it can be seen in the films El Cantante and Dance with Me, as well as on TV dance shows. The evolution of jazz dance into these modern forms reflects the adaptability and resilience of the art form, as it continues to absorb new influences while maintaining its core identity. The use of improvisation in African-American vernacular dancing reflects the cultural identity of its dancers by serving as a dynamic form of expression, intertwining personal creativity with communal traditions. The practice allows dancers to convey their individual experiences and emotions while simultaneously engaging with the rich historical and cultural narratives of their communities. This fusion of old and new ensures that jazz dance remains a living, breathing art form that continues to evolve with the times.